The V, IV, I, i progression


This song below presents once again some very interesting aspect of Haitian music. Was the choice of the key a conventional or accommodating one? The IV chord is a major chord. Without evoking the “Blues convention” where a major 4 (IV) chord can be found in a minor key progression, to write this song in a major key is totally appropriate. However, what I find interesting is the fact that IV chord imposes itself despite of the presence of the 4th (the F note) and the 7th degree (the A♯) in the melodic lines in that measure, contrarily to the strong suggestion of a minor 4 (iv) chord in western music.
Moreover, some may say that the use of the major I chord is simply sentimental. But, in fact, it reinforces the fact that this song is in a major key and the minor 3rd of the melody at the beginning of the song is a just a nuance that reflects the sensibility of the Haitian collective soul in music.
But, my greatest surprise in writing this song was not the progression since I know that the “natif” concept has opened a new window in compositions, especially in the relations between melodies or themes and chords. It was the microtone of the A (3/4 note) which I have highlighted. Again, this endemic element of Haitian music is present in this song.

In order to see the scores clearly, click on them and you may enlarge as you please.

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